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When Keith Tippett attended the Barry Summer School in 1967, where Graham Collier was among his tutors, he asked Graham whose piano playing style his own reminded him of, to which Collier replied "Dick Twardzik". "I'd never heard of Dick Twardzik", Keith said.
Provided to YouTube by The Orchard EnterprisesBlue Train · Eric Dolphy · The John Coltrane QuintetSo Many Things: The European Tour 1961, Vol. 1℗ 2014 Acroba...
The new Branford Marsalis record is pretty impressive. This is a quartet at the top of it's form. I had read some reviews that this was one of Marsalis' most way out and challenging records yet my perception is that this is simply a band demonstrating how effective they can be if they play together for a long time. It includes music by Andrew Hill and Keith Jarrett although the latter's "The wind up" gets a robust kick-in which is pretty untypical of the pianist's work. I feel that this is a very special band who can rapidly change the dynamics. I think this is high class jazz of the highest order.
Always nice to return to Branford who I find pretty reliable on disc - even better live though!!
‘The Soothsayer’ - Wayne Shorter
Wayne Shorter with James Spaulding, Freddie Hubbard, McCoy Tyner, Ron Carter, Joe Chambers & Tony Williams
Blue Note (1970)
Birdland All-Stars In Europe with Miles Davis, Lester Young, Rene Urtreger, Pierre Michelot, Christian Garros & Bud Powell in Hamburg, November 7, 1956:
John Coltrane’s A Love Supreme came out in 1964, an “album-long hymn of praise,” writes Rolling Stone, “transcendent music perfect for the high point of the civil rights movement” as well as Coltrane’s growing spiritual awakening after kicking his heroin habit.
John Coltrane’s A Love Supreme came out in 1964, an “album-long hymn of praise,” writes Rolling Stone, “transcendent music perfect for the high point of the civil rights movement” as well as Coltrane’s growing spiritual awakening after kicking his heroin habit.
Very timely Bluesie - Fresh Sound have just released a previously unissued session by the Jay Migliori Dick Twardzick Jazz Workshop Quintet Rec 1954.
Jay Migliori Tenor, Dick Twardzik Pno, Johnnie Rae Vibes, Jack Carter Bass, Bob Atcheson Drs. Boston May 1954
Have not received my copy of this yet so can't comment on Twardzik's solo work - hopefully there is plenty of it.
Very timely Bluesie - Fresh Sound have just released a previously unissued session by the Jay Migliori Dick Twardzick Jazz Workshop Quintet Rec 1954.
Jay Migliori Tenor, Dick Twardzik Pno, Johnnie Rae Vibes, Jack Carter Bass, Bob Atcheson Drs. Boston May 1954
Have not received my copy of this yet so can't comment on Twardzik's solo work - hopefully there is plenty of it.
elmo
The first item I ever ordered from Amazon was the Lonehill CD of "The complete Dick Twardzik" and this included some solo rehearsal performances. Amongst the tracks were a number of free improvisations rather in the same way of working at Lennie Tristano. More than any other jazz musician of that generation, Twardzik is easy to categorise incorrectly and the partnership with Chet Baker somewhat obscures the fact that is recorded work is effectively just youthful musings. The "official" recordings such as "Crutch for a crab", "Albuquerque Social Swim" and "Yellow Tango" are amongst the most intriguing of the early fifties but the privately and poorly recorded rehearsal material featuring a badly out of tune piano on this CD maybe offer more clues where he would have ended up. I think had he avoided drugs he would have moved away from the kind of players he had performed with in his early twenties and would have probably had a place in the avant garde akin to someone like Paul Bley. He was a virtuoso pianist and maybe the most tantalising "what if" in jazz at that time when many players died way too young. The stuff on the Lonehill record might have seemed like an interesting starting point had he gone on to record in the 1960s and beyond. "The girl from Greenland" with Chet Baker would seem like a curiosity performed with a more conservative leader as opposed to a defining performance. He was ahead of his time but even more unfortunate than Herbie Nichols in leaving a poorly documented presence in the studio. You cannot say with any certainty where his career would have landed yet given that he died when he was only 24, the potential would have been for him to come to artistic maturity at the same time Free Jazz started to dominate. For me, the recorded output seem like the youthful explorations of someone whose musical development would have been far more interesting as the Bud Powell influences would have eventually have been shed for something more personal.
‘Them Dirty Blues’ - The 'Cannonball' Adderley Quintet
Julian 'Cannonball' Adderley, featuring Nat Adderley with Bobby Timmons,
Barry Harris, Sam Jones & Louis Hayes
Riverside (1960)
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